DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.6656#0041
XIV.
Large Ewer in Rock Crystal.
Height 91 in. Diameter 1115 in.
Before the discovery of the art of making glass, Rock Crystal was highly prized, and much sought
after for articles of luxury; not alone on account of the beauty and durability of the material, but likewise
from its suitability for the arts of the stone engraver and lapidary. Vessels in this substance, filled with
water, or other liquid, were placed upon the table at court banquets, and at other similar festivities. The
collection of the "Green Vaults" contains more than two hundred and fifty specimens of this beautiful
material, all differing in form and size, and offering a veritable mine of beautiful designs: manv of them
were acquired before the year 1640; and each succeeding ruler after that date added to their number.
They form an interesting chronological series; and serve to indicate epochs of taste during more
than two centuries. It is clear, from several of the examples preserved here, that the original form of
tlie stone often determined its application; cither from the desire not to diminish its size, or with a view
to spare labour. Lapis lazuli, precious stones, gold and silver, were lavishly expended upon mountings;
and the crystal was in many cases covered with engraved designs, often of considerable artistic merit.
The ewer here represented is of a spheroidal form, covered with a deeply engraved design of Italian
arabesques, springing from the trunk and limbs of a grotesque Caliban-like figure, which is represented
as clinging with legs and arms to the back of the vessel.
The head and shoulders of this monster are of gold enriched with enamel, and the handle and
toot ot the ewer are of the same material. The latter are both richly ornamented with enamelling and
precious stones; and the handle especially, which is attached to the figure above described, is further remarkable
for its bold graceful curve, and the grotesque masks introduced upon it. Though this specimen was not
acquired till the beginning of the eighteenth century, it is evident, at the first glance, that it is the production
of an earlier and better artistic period. The records of the collection attribute it to the celebrated lapidary
and stone-engraver G. 15. Metellino of Milan.
Large Ewer in Rock Crystal.
Height 91 in. Diameter 1115 in.
Before the discovery of the art of making glass, Rock Crystal was highly prized, and much sought
after for articles of luxury; not alone on account of the beauty and durability of the material, but likewise
from its suitability for the arts of the stone engraver and lapidary. Vessels in this substance, filled with
water, or other liquid, were placed upon the table at court banquets, and at other similar festivities. The
collection of the "Green Vaults" contains more than two hundred and fifty specimens of this beautiful
material, all differing in form and size, and offering a veritable mine of beautiful designs: manv of them
were acquired before the year 1640; and each succeeding ruler after that date added to their number.
They form an interesting chronological series; and serve to indicate epochs of taste during more
than two centuries. It is clear, from several of the examples preserved here, that the original form of
tlie stone often determined its application; cither from the desire not to diminish its size, or with a view
to spare labour. Lapis lazuli, precious stones, gold and silver, were lavishly expended upon mountings;
and the crystal was in many cases covered with engraved designs, often of considerable artistic merit.
The ewer here represented is of a spheroidal form, covered with a deeply engraved design of Italian
arabesques, springing from the trunk and limbs of a grotesque Caliban-like figure, which is represented
as clinging with legs and arms to the back of the vessel.
The head and shoulders of this monster are of gold enriched with enamel, and the handle and
toot ot the ewer are of the same material. The latter are both richly ornamented with enamelling and
precious stones; and the handle especially, which is attached to the figure above described, is further remarkable
for its bold graceful curve, and the grotesque masks introduced upon it. Though this specimen was not
acquired till the beginning of the eighteenth century, it is evident, at the first glance, that it is the production
of an earlier and better artistic period. The records of the collection attribute it to the celebrated lapidary
and stone-engraver G. 15. Metellino of Milan.